On live broadcasts, getting good sound on anything or any subject is a skill set demanded of all sound operators. In today’s highly segmented world, however, those skills can be lost if not constantly tested. Here are some general rules to ensure that good sound is always there.
TV and social media continue their convergence, creating both problems and opportunities for broadcasters and pay TV operators.
Recording high quality sound at noisy outdoor locations can be a real challenge for videographers. Here is some advice on using shotgun microphones to help ensure that location sound is not only useable, but of top quality.
What if a video production could be tailored to each viewer, based on transmitted audio and video essence and data stored in the viewer’s browser? Suppose the browser could receive the content and based on the viewer’s personal data, create an individualized version of the program based on that data?
For those who began work in the audio industry before the 1980s, the experience of “going digital” is clearly remembered. Many of us questioned everything we knew and wondered whether all the experience we had gained in the analog era would carry forward. Fortunately, in hindsight, that experience paid off and we did just fine.
John Watkinson looks at how crossover networks don’t work.
In the previous articles, we investigated IP from a broadcast engineers point of view as it helps us understand IP. In this article, we start to look at audio integration, and how we make IP work with audio signals, and the challenges we need to overcome.
As recording has gradually moved away from large studios to small spaces, the difficulty to getting a big “live” sound has become more difficult to achieve. There are, however, some tricks that allow the expansion of small rooms to sound much bigger than ever expected.
